Quartet has announced two new, upcoming releases -- a newly expanded edition of Michel Legrand's Oscar-nominated score for the original 1968 version of the romantic caper THE THOMAS CROWN AFFAIR (featuring his Oscar-winning song "The Windmills of Your Mind"), featuring not only the oft-released LP re-recording but, for the first time, the original score tracks; and a CD pairing remastered versions of two scores by Ennio Morricone, LA MONACA DI MONZA and LA CALIFFA.

On July 22, Varese Sarbande plans to release Marco Beltrami's score for SNOWPIERCER, the highly anticipated post-apocalyptic thriller from director Bong Joon-ho (The Host, Mother), starring Chris Evans, Jamie Bell, Octavia Spencer, Ed Harris, John Hurt and Tilda Swinton. And on June 10, their Vintage imprint will release a limited edition of Bill Conti's score for the Sylvester Stallone prison drama LOCK UP (previously released by Intrada).

June 6 - Aram Khachaturian born (1903)
June 6 - Edgar Froese born (1944)
June 6 - Herbert Stothart begins recording his score to The Yearling (1946)
June 6 - Miklos Rozsa begins recording his score for The Red Danube (1949)
June 6 - Leigh Harline begins recording his score for The Wonderful World of the Brothers Grimm (1961)
June 6 - Michel Legrand begins recording his rejected score for The Man Who Loved Cat Dancing (1973)
June 7 - Charles Strouse born (1928)
June 7 - Don Peake born (1940)
June 7 - David Raksin begins recording his score for A Lady without Passport (1950)
June 7 - Dave Grusin begins recording his score for The Heart Is a Lonely Hunter (1968)
June 7 - Daniele Amfitheatrof died (1983)
June 7 - Billy Goldenberg records his score for the Amazing Stories episode "The Amazing Falsworth" (1985)
June 8 - George Antheil born (1900)
June 8 - Recording sessions begin for Bronislau Kaper's score for The Wild North (1951)
June 8 - Jean Wiener died (1992)
June 8 - Herschel Burke Gilbert died (2003)
June 9 - James Newton Howard born (1951)
June 9 - Geir Bohren born (1951)
June 9 - Louis Gruenberg died (1964)
June 9 - Ron Jones records his score for the Star Trek: The Next Generation episode "Shades of Grey" (1989)
June 10 - Don Costa born (1925)
June 10 - Randy Edelman born (1947)
June 10 - Hugo Friedhofer begins recording his score to Above and Beyond (1952)
June 10 - David Shire begins recording his score to Farewell, My Lovely (1975)
June 11 - Carmine Coppola born (1910)
June 11 - Alexander Balanescu born (1954)

DID THEY MENTION THE MUSIC?

THE ANGRIEST MAN IN BROOKLYN - Mateo Messina

"Though much of the script borders on unbearable, compounded by 'Juno' composer Mateo Messina’s tell-you-how-to-feel score, writer Daniel Taplitz manages to sneak in some poignant self-help aphorisms here and there."

Peter Debruge, Variety

THE DANCE OF REALITY - Adan Jodorowsky

"Meanwhile, the real-life Jodorowsky (now in his eighties), hovers in and out of various scenes draped in black to guide them along. In this regard, one gets the sense of the director guiding audiences through this chaotic world, never letting it drift too far from his personal connection. Jodorowsky's other son, Adan, provides a poignant score that strengthens the movie's sense of wonder."

Eric Kohn, IndieWIRE

"Set to a lovely, period-evocative score by yet another Jodorowsky progeny, son Adan, 'Dance of Reality' is, at 130 minutes, crammed to bursting with the director's trademark magical realism. Occasionally marred by budgetary constraints, this is nevertheless a welcome return for an artist who truly deserves the sobriquet El Maestro."

Marc Savlov, Austin Chronicle

"Low-budget production values can’t always keep up with their director’s ambitions, but cinematographer Jean-Marie Dreujou nevertheless manages some strikingly off-kilter tableaux. Pic was a true family affair behind the scenes as well, with another Jodorowsky son, Adan, providing the fanciful score, and wife Pascale Montandon-Jodorowsky responsible for the elaborate, imaginative costumes."

"In reviews of docs like 'Fed Up,' it's easy just to pass on the information and forget to point out things such as how Soechtig utilizes emotionally manipulative music (a favorite Oprah device), suggesting that she doesn't fully trust her reporting to engage us on its own. Fat chance."

Dann Gire, Daily Herald

"With its parade of talking heads, statistics and glossy infographics, 'Fed Up' gets to feeling like a special nightly news report. But as news reports go, it is an especially thorough and well-produced one, taking an in-depth look at America's worsening obesity epidemic and pointing fingers at culprits other than consumers. You hear that word a lot in this film, 'epidemic,' often accompanied by shots of bulging waistlines and shocking nutrition labels set to an ominous, droning score that foretells doom."

Barbara VanDenburgh, Arizona Republic

THE LOVE PUNCH - Jean-Michel Bernard

"Compensations include ample eye candy, with ritzy French locations supplying plenty of bang for the investors’ buck. D.p. Jerome Almeras ('I’ve Loved You So Long,' 'n the House') does pro work, but the score by Jean-Michel Bernard ('Be Kind Rewind') struggles to convey the desired levity, when it’s not being elbowed aside by retro cuts such as Status Quo’s lumbering 'Whatever You Want.'"

Charles Gant, Variety

"Jean-Michel Bernard’s antiquated, extremely busy score tries to keep the pace from lagging, while the songs of Free and other rock groups on the soundtrack are meant to make the silly antics look cooler but instead highlight how incongruous they are. Otherwise, this Franco-British co-production is handsomely put together, with great use of locations, especially."

"As Maleficent herself thaws into pretty-niceness, Jolie keeps a tight rein on the transformation and on the film as a whole. There are moments when you wish the spell-caster would banish James Newton Howard's sloshy, pushy musical score to the neighboring kingdom of Generica. On the other hand, makeup wizard Rick Baker deserves plaudits (or kudos, whichever is ranked higher) for the title character's angular, serrated look."

Michael Phillips, Chicago Tribune

"The 'Sleeping Beauty' riff 'Maleficent' is another overproduced summer spectacular, released into a world that has too many. It has sub-'Phantom Menace' landscapes and creatures, a bombastic and unmemorable score, and the sorts of chaotic images and fast cutting that signify a lack of true filmmaking imagination. It is truly a movie made by a committee: its direction is credited to Robert Stromberg, a longtime production designer, and its script to 'Beauty and the Beast' scribe Linda Woolverton, but there have been reports of many studio-imposed rewrites, and reshoots by director John Hancock ('The Rookie'). But it's powerful anyway."

Matt Zoller Seitz, RogerEbert.com

"Years later -- after a lot of clunky narration and some clumsily soaring, sub-Danny Elfman music by James Newton-Howard (would it have killed them to use some of the original Pyotr Tchaikovsky score?) -- Maleficent has transformed into Angelina Jolie, while Stefan has become Sharlto Copley."

Drew Taylor, The Playlist

"Musically, James Newton Howard’s sweeping score locates a nice sweet spot somewhere between Erich Korngold and Danny Elfman, and Lana Del Rey’s gothy take on the 'Sleeping Beauty' showstopper 'Once Upon a Dream' makes for a fitting closer."

Andrew Barker, Variety

"The comedy is never overstated, whereas the swell and bombast of James Newton Howard’s score comes on strong in the early sequences before finding a groove. For most of the movie, Stromberg strikes the right balance between intimacy and spectacle, and Dean Semler’s fluent camerawork reveals the invented world with a sophisticated take on the primal play of darkness and light."

"The film gives its tomfoolery a classic frame, with grandiose Monument Valley cinematography and a sweeping score that recalls the symphonic western compositions of Elmer Bern­stein and Dmitri Tiomkin. There’s also a story, a rarity in this era of arbitrary, chaos-driven comedies."

Colin Covert, Minneapolis Star-Tribune

"With its sweeping vistas of Monument Valley and a jaunty throwback score, the movie at least feels like a real Western. Beyond that, it plays like an episodic free-for-all with a high hits-to-duds joke ratio."

Jon Niccum, Kansas City Star

"Handsomely photographed (by Michael Barrett) and enhanced by an irony-free score (by Joel McNeely), 'A Million Ways to Die in the West' starts with a clever idea, or at least with a promising character -- a cowardly sheep farmer, Albert (played by Mr. MacFarlane), who lives in frontier Arizona in the late 19th century and loathes everything about it except Amanda Seyfried's Louise, a local beauty who rebuffs his love because she loathes his cowardice. But the production is seldom as funny as it promises to be, though it does turn downright likable when a mysterious beauty named Anna (Charlize Theron) is on screen and the script -- by Mr. MacFarlane, Alec Sulkin and Wellesley Wild -- isn't trying to be funny at all."

Joe Morgenstern, Wall Street Journal

"The surprise is how terrific the movie looks and sounds with its handsome vistas (that's the real Monument Valley) and Joel McNeely's rousing score. MacFarlane has an eye and a feel for Westerns."

Peter Travers, Rolling Stone

"Even though it's set in 1882 and features an old-school opening sequence -- complete with sweeping score and handsome, Monument Valley-inspired cinematography -- this is a Western with very modern sensibilities."

Mike Scott, New Orleans Times-Picayune

"To the extent that one remains grumpy during 'A Million Ways to Die in the West,' it would likely be tied up in an emotional investment toward the nerd-made-good smugness of MacFarlane’s public persona, and how much of an assumed cloak one finds that to be. Certainly the movie is finely if not superbly directed; MacFarlane oversees a technical package that abets the film’s loose, playful tone. Composer Joel McNeely’s score is hearty and energetic, like a Beef Industry Council theme song. And Michael Barrett’s cinematography nicely captures the wide-open vistas of the American Southwest, lending the movie the needed scope to root its jokes. There’s even a trippy, well-rendered hallucinogenic sequence."

Brent Simon, Paste Magazine

"Filming in New Mexico and Monument Valley -- places where many great Westerns were shot -- MacFarlane creates and utilizes a bold, colorful, open-air space. A rousing score by Joel McNeely and a couple of goofy songs help set the mood."

Jeffrey M. Anderson, San Francisco Examiner

"Writer-director Seth MacFarlane gives you 10 jokes where other comedians give you one, so even if you don't like five of them, you will still come out way ahead with 'A Million Ways to Die in the West,' an inventive and caustic comedy that really does look like the thing it's mocking. A parody of the great Technicolor Westerns of the '50s, it has the Monument Valley setting and a faux Western score -- and even the graphics call to mind those earlier pictures."

Mick LaSalle, San Francisco Chronicle

"This is the most unromantic take on the Wild West since John Wayne, in 'The Searchers,' vowed to kill his niece. Everyone is dumb, dirty, superstitious and violent. Pre-mass media and seemingly pre-literacy, the townspeople are so ignorant that Gilbert Gottfried is able to pass himself off as Abraham Lincoln. Worst of all, life's boring. Even children playing with hoops and sticks is deemed mental overstimulation. The only cheery bits are the opening-credits music, which sounds borrowed from a Disneyland parade, and Sarah Silverman's fresh-scrubbed prostitute, a Christian whose virgin boyfriend (Giovanni Ribisi) doesn't mind that she's making him, and him alone, wait for marriage."

Amy Nicholson, L.A. Weekly

"MacFarlane has corralled a great cast, which makes it especially disappointing that the movie’s merely OK. There are some amusing jokes -- a Christopher Lloyd cameo is the highlight -- but MacFarlane ultimately relies too much on gross-out gags with no great payoff. Michael Barrett’s desert cinematography and Joel McNeely’s orchestral score aptly evoke the genre even while tweaking it. And the supporting actors -- including Giovanni Ribisi as Albert’s best friend and Sarah Silverman as a naive prostitute -- are uniformly fine."

Elizabeth Weitzman, New York Daily News

"As a comedian, MacFarlane often can't help going for the gross-out joke. There barely a bodily fluid that not only gets its own gag, but gag-worthy closeup, too; his slightly self-conscious, I'm-a-bad-boy act also includes the usual non-PC tweaks at race and religion. But as a filmmaker, he shows a real appreciation for genre (the movie starts with shots of John Ford's beloved desert landscapes, and a rolling Elmer Bernstein-style score). Some flashes of style, too, particularly in a psychedelic dream out of Dali, and some clever in-jokes."

Stephen Whitty, Newark Star-Ledger

"MacFarlane is clearly having a ball with the trappings of an old-school Western; cinematographer Michael Barrett fills the screen with big sky and Monument Valley vistas, while composer Joel McNeely serves up heaping helpings of Elmer Bernstein realness. (There's even a shout-out to 'The Terror of Tiny Town' during Albert's psychedelic spirit journey. Don't ask.)"

Alonso Duralde, The Wrap

"The opening credits make the most of Western vistas and a familiar 'Bonanza'-style score, and the film opens on a particularly bad day for Albert."

Claudia Puig, USA Today

NIGHT MOVES - Jeff Grace

"Reichardt demonstrates a strong command of menacing atmosphere, the unease inflated by Jeff Grace’s magnetically moody score. (Grace, who also composed the synth-tastic soundtrack of 'Cold In July,' is one to watch -- or listen to, rather.)"

A.A. Dowd, The Onion AV Club

"The movie takes its name from the motorboat, rigged with a fertilizer bomb, that the radicals use to blow up the dam -- not, as you may have guessed, the Bob Seger song. (Instead, we are treated to an intermittently haunting soundtrack by Jeff Grace, whose music for Jim Mickle’s recent film, 'Cold in July,' was equally unsettling.)"

Matthew Kassel, New York Observer

"'Night Moves draws much of its suspense from its ability to ground the proceedings in a realistic, everyday world. Much like 'Meek’s Cutoff' or 'Wendy and Lucy' (which starred Michelle Williams as a drifter searching for her beloved lost dog), 'Night Moves' is compelling not because of its story’s startling originality but, rather, because of its bone-dry simplicity, goosed along by Jeff Grace’s softly anxious score."

Tim Grierson, Paste Magazine

"It’s fascinating to watch the director’s style blossom under the restrictions of a more conventional storyline, even as she actively works against it. Several sequences unfold with a slow-burn quality in which not much happens, enabling Reichardt to foreground their haunted subjectivity. But Jeff Grace’s ominous score and the linear structure create a genuine sense of dread that leads each moment to the next."

Eric Kohn, IndieWIRE

"Reichardt’s characteristically thoughtful, unobtrusive style, a model of visual precision and economy, turns slightly more voluptuous as the story darkens, winding its way through some surprising twists. The final act of 'Night Moves' finds the filmmaker using music, shadow and light, close-ups and atypically dramatic camera angles to gently push the tension to its limits."

Jon Frosch, The Atlantic

"Production values are spare but crisp and exacting. Reichardt, always attuned to environment in the most basic storytelling sense, delivers her own moving tribute to Mother Nature with a poignant, wordless sequence in which Josh, Dena and Harmon row their boat past a wooded area conspicuously devoid of trees, Christopher Blauvelt’s crystalline HD images merging to mournful effect with composer Jeff Grace’s moody chordal progressions."

Justin Chang, Variety

"All this patiently paves the way for nail-biting coverage of the plan’s execution. Accompanied by the darkening strains of composer Jeff Grace’s score, the almost Hitchcockian sequence is made even more unsettling by the smart decision to confirm the mission’s completion only via the distant noise of the explosion."